


Musical Plot

by atlas_oulast



Category: Original Work
Genre: F/F, F/M, Multi
Language: English
Status: Completed
Published: 2018-12-28
Updated: 2018-12-28
Packaged: 2019-09-29 02:57:18
Rating: Teen And Up Audiences
Warnings: Graphic Depictions Of Violence, Major Character Death
Chapters: 1
Words: 3,337
Publisher: archiveofourown.org
Story URL: https://archiveofourown.org/works/17195198
Author URL: https://archiveofourown.org/users/atlas_oulast/pseuds/atlas_oulast





	Musical Plot

We open on Angela, a writer, writing a letter to her mother. She’s practical, somewhat moody, often seemingly emotionless, blunt, wise-cracking, and quick-tempered, as well as meek and a pushover around Richard. She was Richard’s mistress, now fiancée, living in his mansion in outskirts of London, in early-ish fall 1911.

Other characters enter as she writes, such as Dot, the passionate, hopeless, and somewhat seductive romantic, also quick tempered, and seemingly always cheerful and full of energy, unless she’s angry. She’s raving about Anne as she enters, her newest romantic fling, a secondary character, somewhat bitter but still sweet sometimes, and she’s also something of a pushover.

Then comes Edward, brother of Elizabeth, and cousin of Richard. He’s a recovering alcoholic, going sober after going into a drunken rage, nearly killing Dot, alienating her from him and breaking any trust, a breakage that’s still painful, something that hasn’t been discussed or picked at. The only thing that stopped him from stabbing her to death was him suffering from a sudden heart attack caused by high blood pressure, in turn caused by his drinking. He is passive, quiet, and slow to anger.

Shortly after Edward’s entrance and Angela and him making a bet on how long Dot and Anne will last, much to Dot’s chagrin, comes Elizabeth.

Just a year younger than Edward, she’s always been sickly, and is unable to walk, after contracting polio at age 14. She’s still cheerful, kind, sweet, yet meek, and romantic, just a softer romantic, not as hot red and passionate as Dot. She protests the bet that Edward and Angela have just made, defending Dot, but mostly directs her arguments to Angela. She, too, was hurt emotionally by Edward, but their bond is slowly but surely getting rebuilt, regaining their previous closeness.

After defending Dot, Elizabeth asks if Angela’s yet found a venue for the play she recently completed after five years of work. Angela says no, sadly.

Lastly, comes Richard, who’s mostly oblivious to Angela and her emotional needs, also a bit arrogant and full of himself, but somewhat sensitive and at the same time, mischievous yet seems almost emotionless, like Angela. He enters with a newspaper, and he’s also pulling on his suit jacket, getting ready to head to work. He’s a workaholic who doesn’t really know how to interact emotionally and simply kisses Angela on the neck and comments about the stock market before leaving for work, at the bank. A bit of a George Banks, if you will.

Another thing to mention, all of these character’s you’ve just met, all live in Richard’s mansion. Angela convinced Richard to allow Dot, her best friend, to live in the house after she was evicted from her apartment for not being able to pay her rent. Edward and Elizabeth moved here when Edward’s wife, Jenny, divorced him because of his alcoholism, and Elizabeth’s health was worsening and she needed a stable place to live.

Angela observes the people around here, milling about their buisness, and expresses being emotionally disconnected to Richard and the rest, and wishing for connection, and thinking that maybe if her play could premiere somewhere, she could connect with like-minded people and get closer with Richard and her friends. (“Find My Connection.”)

Angela dismisses the maids, Wendy and Mary, for the day, and goes out to buy groceries on her own, while Dot heads to Anne’s, Elizabeth goes to nap, and Edward goes into his study.

In his study, Edward sings of how everyone fears him; and how they’re right to fear him (“Fear Me, Gentle Ones.”)

On Angela’s way to the market, she hears two beggars gossiping about the new west end theatre, the King Lionheart Theatre, and it’s frantic search for a play to perform as the theatre nears completion.

Angela comes up to the beggars, and one runs away as soon as she approaches. The other introduces himself as Charlie, and when she asks to know more about the King Lionheart Theatre, he convinces her to pay him nine schillings for the information.

He tells her that the owner of the new theatre is Lady Fiametta Dellucci, a rich, scandalous woman, who exiled herself from her home country of Italy after inheriting the estate of an English relative, furthering her wealth. She’s rumoured to be married to Lady Rose McFarland, a ditzy, narcoleptic woman who’s lost most of the beauty she had in her younger days, but seems to think she’s still a raving beauty.

Lady Fiametta bought a prime lot in the West End area and is nearly done building her giant, elegant theatre, but lacks a play to open there.

Angela asks where Lady Fiametta can be found, and he responds by demanding an extra 5 farthings, and then says that she can be found at her mansion, deep in the heart of London.

All of this new information is communicated in song (“Lady Fiametta; or, The Lionheart Theatre”)

Back at the house, Elizabeth finds herself alone with Dot, who’s come back dissatisfied with her time with Anne, and talks to Elizabeth about it.

Elizabeth knows that she’ll never live a full life, but finds herself beginning to fall in love with Dot, seemingly against her will, again, because of how her life will surely be short. (“Can’t Live Any Life”)

Back to Angela, she finds herself lost somewhere in London, still looking for Lady Fiametta’s mansion, and is somewhat angry with herself, having lived here for years and yet can still get lost. Luckily, She meets a young gentleman, Oscar, who’s apparently courting Ophelia, Angela’s archenemy, though she forgets why. He doesn’t like her, and explains it’s because Angela hates Ophelia so, and says he’s going to go see her. Angela offers him nine schillings for directions, and after some bargaining, reveals that Ophelia is the grandniece of Lady Rose, and thus, also Lady Fiametta, and thus, easily leads her to the house. (“Like a Yankee”)

In the house, it’s teatime, and Angela and Oscar silently observe Lady Rose, Laura the Maid, and Ophelia as they argue over the tea, and Angela attempts to slip away to find Lady Fiametta, but she and Oscar are finally spotted by Lady Rose, who then falls asleep. (“McFarland, Pratt, and Todd in Their Natural Habitat”)

Angela explains about her play, The Fall of Denarkark, and her wish to submit the script to Lady Fiametta. Lady Rose demands she read a section for her right there, right then (“Nonsense”) despite her revealing that Lady Fiametta has gone out and will not return for awhile.

Angela refuses, saying that she doesn’t have the script with her at the moment, and Ophelia jeers at her for this (“Why’d You Come A-Calling?”)

However, Lady Rose agrees to see it another time, and they settle on Thursday, three weeks after that day. Angela goes on home hopeful (“Perhaps”)

A few days later, Edward comes upon Elizabeth writing a poem and requests to share a poem of his own. 

Elizabeth comforts him after his poem reveals his longing for everything to go back to normal, saying that he’s made progress recently, and she’s proud of him. Edward expresses dismay, still, that their bond isn’t fully repaired. Elizabeth says that it’s alright, and their bond may never be the same, but it’s alright. (“Changing the Bond”)

We finally get a look at Richard as he comes upon Angela, in their bedroom, writing another letter to her mother, telling her of the glorious afternoon where she met Lady Rose, exaggerating and embellishing some parts (“Dear Mother”)

He watches her, emotionless, and delivers her her mother’s response, but teases her with it in a monotone voice, and even opening it and reading it in her mother’s voice before finally giving it up, exposing Angela’s longing for emotional affection that blows by the oblivious Richard (“Dear Mother (Reprise)”)

Elizabeth finally approaches Dot, and confesses her love, but also advises Dot to ignore this; she doesn’t want to give her something she’ll only have for a little while before she dies, and also addresses how Dot’s relationships never last, and she wants to give Dot something that will last, but again, won’t live long enough for that. (“Love Without Life”)

Dot comforts her, and tells her that she doesn’t mind how long she gets her love, she’d rather have it now than have never had it, and assured her that she’ll make it last as long as Elizabeth’s life (“The House That Dot Built”) Elizabeth, her fears now gone, passionately kisses Dot.

Angela goes to Lady Fiametta’s mansion on the agreed upon date, but finds herself turned away, and turned away again and again every time she comes, as it seems that Lady Fiametta is out every time she comes to submit her script or do any kind of performance, and Laura advises against simply leaving the script in Lady Fiametta’s study; she’d just loose it, or never notice it. (Is Lady Fiametta In Today?”)

Angela confides in Edward about the constant turnaways, and he suggests bribing Lady Rose, Ophelia, and Laura to keep Lady Fiametta at the house next time Angela tries to come. Angela, at the end of her wits, agrees. (“Bribery is Always the Answer”)

Finally, Angela heads to the Fiametta mansion yet again, after Edward has sent bribes, but still, Lady Fiametta isn’t in; they couldn’t keep her there despite their best efforts. Nonetheless, Lady Rose, just as fed up as Angela, insists she do a reading of the script in the ballroom, and she’d relay back to Lady Fiametta about it. 

Angela does a quick reading, but overlaid, muting her words as she speaks, with her, Lady Rose, Ophelia, and Laura eventually fading out, is a scene with Dot and Elizabeth, where Dot comforts Elizabeth after she’s fainted. Elizabeth knows she’s getting worse and might not survive and advises Dot to leave her, but Dot comforts her, praising her resolve and how cheerful she tends to be, with Elizabeth countering with self-deprecating statements, until, finally, she succumbs to Dot’s charms and praises (Silver and Gold)

We cut back to Angela, who’s just finished her reading, and Lady Rose has absolutely been blown away, while Ophelia is still skeptical and Laura has questions. Lady Rose declares that Angela’s play will premiere at the new theatre, and she will make Lady Fiametta agree if it’s the end of her. (“I Shall Beseech the Lady”)

Angela, overjoyed, decides to take Dot out to a pub, without telling her about what just happened, simply telling her something wonderful happened. They drink, and Angela ends up kissing Dot. (“The Pub”)

Embarrassed and suddenly seymour... I mean, sober, she leads the tipsy Dot home and goes to bed, alone, since Richard’s working late again, and is now paranoid that her career, reputation, and relationship with Richard are now ruined, after finally getting her play on a stage, but comes to terms with the fact that she loves Dot (“Stupid Sydney Girl”)

Dot confronts Angela the next morning, and tells her, simply, that it’s ok, she also has feelings for her. (“Three Words For You”)

Rejuvenated after this, plus a kiss from Dot, Angela tells everyone of the news, and they celebrate (“West End”)

Act 2

It’s been three weeks, and Angela is in over her head, running frantic and chaotic rehearsals with a thrown-together cast (“Rehearsal”) After witnessing Angela having to deal with so much, Dot grabs Angela’s small novel of things to get done that afternoon from the piano and sends her off to go rest, flirtatiously and somewhat suggestively (“I’ll Beseech The Lady (Reprise)”)

Meanwhile, Richard finds Angela sleeping, at the house, after coming home early, and reveals a concealed handgun and points it at her, who is still sleeping. He seems to come to his senses, and is horrified with himself, putting the gun away. (“Sleeping Woman”)

Angela wakes just after he’s put away the gun, and, still half asleep, she asks him about how buisness at the bank is going. It’s fine, he assures her. This is another great look into their relationship, and how terrible it is at that point.

Angela wakes fully and, still not knowing about Richard and the gun, goes to wash up, and in the bath, sings of how now, someone cares, and she doesn’t feel the need to to put in all the emotional effort in her and Richard’s relationship, now that she has a relationship where the emotion is mutual. (“Now That I’ve Got Her”)

Finally, a few weeks later, it’s premiere night, and things are chaos backstage as everyone prepares, and tries to rehearse, warm up, and find costume pieces. (“Backstage”)

The play premieres, it’s a total mess, with actors completely off script and the script itself being terrible, and it flops entirely. Dot tries to comfort Angela on the way home, but Angela refuses to listen.

The next morning, Angela shamefacedly takes the Underground to the Fiametta mansion, where she’s present, at last. It’s revealed that this is truly only the third time Angela’s seen Lady Fiametta, and she never saw the script before the play premiered. (“Is Lady Fiametta In Today? (Reprise)”)

Lady Fiametta is furious, and scolds Angela harshly, telling her that both of them are now forever left with a black mark in their history.

Angela protests, saying that the reason the play flopped was because of her actors being so inexperienced, but Fiametta says that it’s her fault solely, for not only writing an awful play in the first place, but also for casting inexperienced actors, and then not preparing them adequately - or getting someone else to prepare them adequately. (“Nonsense) Reprise”)

Disgraced, Angela heads back home, but meanwhile, Dot is having a crisis over whether to tell Angela about her also dating Elizabeth; Angela knew well how Dot tended to have more than one lover at once, but she is yet to learn of Elizabeth and Dot. She also goes further into her personal history with being a lover of women and more than one at once, something The House That Dot Built focuses on (“When You Love Her”)

Angela arrives home and collapses onto Dot’s bed, saying how she’ll be forever disgraced, and she’ll be the lady selling birdseed on the corner, after working for five years on something that instantly flopped. Dot finally gets though to her with comfort, suggesting that rather than dwell on this, she move forward, and focus on something else for awhile, and she implies that she wants Angela to focus on her, rather than her plays. (“You’ll Not Be a Beggar”)

A couple weeks later, Richard confronts Angela about why she hasn’t been sleeping in their bed. She’s been sleeping with Dot most nights, but of course, she lies, saying that she’s been brainstorming ideas for another play. Richard tells her to take a break from being a writer, and sleep. (“Sleeping Woman (Reprise)”)

As Richard is singing the final notes of that song, Elizabeth enters, in her nightgown, and when he and Angela black out, a spotlight comes upon her. She’s disheveled, her hair is a mess, and she realises she’s about to die, despite surviving a lifetime of illnesses, she knows this is the end (“I Survived”)

In the final notes of her song, comes Edward, and when Elizabeth finishes the last note, she faints into his arms.

Edward rouses Dot from sleep, frantically, saying that he’s called the doctor. Dot wakes Angela, and they both try to wake Richard, with no success. Nevertheless, they dress and rush downstairs.

Elizabeth wakes, and weakly tells them that this is it. Dot hesitates, but takes her hands in hers and presses her forehead to them.

Elizabeth pleads with all of them individually, Edward not to mourn her forever, Angela to write another play, and Dot... for Dot to tell Angela everything. She then asks Dot to kiss her, still singing, and Dot does this. The kiss is passionate, but Elizabeth goes limp in Dot’s embrace. (“I Survived (Reprise)”)

The doctor arrives, too late, and Angela, overwhelmed by grief, anger, and sadness, leaves the room.

The funeral is somber, but they all share fond memories of Elizabeth, even Richard and Lady Rose & Fiametta. Edward dedicates a poem to Elizabeth, Angela shares of how Elizabeth was always cheerful, despite knowing her death would come too quick, and refuses to look at Dot. Dot, fully in tears, tells of how Elizabeth always put her first in their relationship, and how she wishes she’d spent more time her partner while she lived.

Afterwards, Angela and Dot have a huge fight. Angela is angry that Dot had another relationship while with her, wanting something that was truly hers, emotionally, physically, and in every way in between. Angela says that Dot’s polyamorous actions were always shameful and created mistrust in all her relationships, which is why her relationships never seem to last.

Dot counters. Angela had friends, she had her. She was just as devoted to her as she was Elizabeth. Angela is a hypocrite; she clearly loves women, which is shameful, apparently, and what of Richard?

Angela proclaims that she never truly loved Richard. Dot says it’s just like she never truly loved HER, but for different reason. Dot’s too excitable, too silly, too scandalous, and everyone always casts her aside.

Angela tells her to leave her, then, finally, and Dot gladly does. (“The Fight/Leave Here”)

Afterwards, Edward and Angela visit Elizabeth’s grave together, and Edward tells her that he’s going to Wales to find Jenny and the child she was pregnant with when they divorced, and does just that. (“Jenny”)

Angela, now left with only Richard, resolves to finally try and truly love him. However, as she awaits him in the parlour, he approaches from behind, wrapping her in an embrace, kissing her neck, and pressing a gun to her temple.

He finally confesses to have pointed the gun at her before, and tells her that he has a new mistress, Ophelia. Angela, terrified and betrayed, flees. Richard fires the gun once, but he misses. (“Gun To The Head”)

Angela goes to the Fiametta mansion, seeking asylum, and the Ladies take her in instantly. Angela confides in Lady Fiametta of everything that’s happened, and Lady Fiametta relates, telling her of how her husband in Italy nearly killed her to spare himself of any scorn and complications marrying his mistress over Fiametta would bring up, and that’s why she left Italy. (“Lady Fiametta Dulcci”)

Angela warns Ophelia of Richard, and she promises to try and cut things off with him.

A few weeks later, still living in Lady Fiametta’s house, and almost completely without friends, Angela tries to outline a new play; with no success. She suddenly has the bright idea to find Dot, forgive her, and re-devote herself to her. She runs through the streets of London, finds Dot out walking, whirls her around and kisses her. (“Find Her Again”)

As it turns out, Dot has reunited with Anne, whom she broke up with in early Act 1, and also, added Mary Kate, who dates both of them, and they were all out walking together. Dot’s understandably but incredibly angry, in a high emotion number (“Untitled Song”)

As Dot whirls away at the last note of the song, Angela collapses onto her knees and the entire stage goes dark; except for a single spotlight illuminating her. She laments her poor decisions and laments that she’ll probably never have a relationship, friendship or otherwise, with Dot again. She laments selfishness and cruelty, but ultimately decides to move on. (“Stupid Sydney Girl (Reprise)”)

Afterwards, Angela stands and delivers an epilogue, saying that afterwards, she decided to write a play about what all transpired. She acknowledges that Dot still probably doesn’t like her, but asks if she’s in the audience, could she please simply acknowledge it. Dot rises from a seat in the theatre and walks onstage. They stare at each other, and the lights black out.


End file.
